Showing posts with label Kipling. Show all posts
Showing posts with label Kipling. Show all posts

Wednesday, April 17, 2013

What They Were Reading: Robert Frost



On the Fiftieth Anniversary of Robert Frost’s death, the Christian Science Monitor has dug up an old Top 10 list that he provided to the Massachusetts Library Association in 1934. Below are his ten all-time favorite books, and here is the article with relevant quotes and explanations:
  1. The Odyssey, by Homer
  2. Robinson Crusoe, by Daniel Defoe
  3. Walden, by Henry David Thoreau
  4. The Tales of Edgar Allen Poe, by
  5. The Oxford Book of Verse
  6. Modern American and British Poetry
  7. Last of the Mohicans, by James Fennimore Cooper
  8. The Prisoner of Zenda, by Anthony Hope
  9. The Jungle Book, by Rudyard Kipling
  10. Essays and Poems by Ralph Waldo Emerson

Thursday, August 16, 2012

The movie was good, but the poem was better...



So here’s an interesting topic: Movies based on poems.

Yes, they exist. It seems they are few and far between, but a little digging reveals a few prime examples. Of course most that spring to mind live in the epic poem category, but I’m going to go ahead and disqualify those right at the outset. An epic poem is, for all intents and purposes, basically a book. And a book-length work, regardless of its rhyme and meter, ought to contain more than enough plot to fill out a feature film. 

So, while they may be great movies, don’t give me your Troy (the Iliad), your Beowulf (Beowulf), your El Cid (Cantar de Mio Cid) or your Braveheart (The Actes and Deidis of the Illustre and Vallyeant Campioun Schir William Wallace). Neither McKayla nor I am impressed.




Also, spare me the modern retellings like “O, Brother Where Art Thou” (the Oddysey) and the biopics like “Howl” (“Howl.”)- both of which are already disqualified based on length above.

No, I’m talking about relatively short poems, that spin complete yarns, and that have inspired some hungry screenwriter to create movie magic. Here are a few that fit the bill:
The Man From Snowy River,” based on the 1890 poem of the same name, by Australian poet Banjo Paterson. The climax of the poem became the climax of the film- Jim Craig’s lunatic plunge down that impossibly steep gorge on horseback was seared into my five-year-old brain like few movie moments have been before or since.
Gunga Din,” based on the 1892 poem of the same name, by Nobel Laureate Rudyard Kipling. This one’s a “loosely-based,” but the theme of the brave and decent native as compared to the craven British soldiers is true to the original.
The Raven,” based on the 1845 poem of the same name, by drunkard and all-around wierdo Edgar Allen Poe. I haven’t seen this one, so I don’t know how loyal it is to Poe, but it’s a B movie horror-comedy. What more could you really want?
Mulan,” based on “The Ballad of Mulan” a Chinese poem transcribed in the 6th century. I haven’t read this one, and haven’t seen the movie. But I did read the Chick-Fil-A kids meal version to my kids a year or so ago. Does that count?
Which ones did I leave out, readers and movie buffs? What other short poems have made their way to the silver screen?


Monday, August 13, 2012

See India! Read a Novel!



The summer travel season may be drawing to a close, but the literary  travel season doesn’t have to . Here are three books that will transport you to the subcontinent of India, a place I’ve always wanted to visit.

For the intrigue and excitement of The Great Game, you’ve always got  Kim,  by Rudyard Kipling.
 “The hot and crowded bazaars blazed with light as they made their way through the press of all the races in Upper India, and the lama mooned through it like a man in a dream. It was his first experience of a large city, and the sight of the crowded tram-car with its continually squealing brakes frightened him. Half pushed, half towed, he arrived at the high gate of the Kashmir Serai: that huge open square over against the railway station, surrounded with arched cloisters where the camel and horse caravans put up on their return from Central Asia. Here were all manner of Northern folk, tending tethered ponies and kneeling camels; loading and unloading bales and bundles; drawing water for the evening meal at the creaking well windlasses; piling grass before the shrieking, wild-eyed stallions; cuffing the surly caravan dogs; paying off camel drivers; taking on new grooms; swearing, shouting, arguing, and chaffering in the packed square. The cloisters, reached by three or four masonry steps, made a  haven of refuge around this turbulent sea. Most of them were rented to traders, as we rent the arches of a viaduct; the space between pillar and pillar being bricked or boarded off into rooms, which were guarded by heavy wooden doors and cumbrous native padlocks. Locked doors showed the owner was far away, and a few rude-sometimes very rude- chalk or paint scratches told where he had gone. Thus: ‘Lutuf Allah is gone to Kurdistan.’ Below, in coarse verse: ‘O Allah, who sufferest lice to live on the coat of a Kabuli, why hast thou allowed this louse Lutuf to live so long?’
For the era of Independence, there’s always Midnight’s Children,  by Salmon Rushdie
 “He made his living as a simple ferryman, despite all the rumors of wealth, taking hay and goats and vegetables and wood across the lakes for cash; people, too. When he was running his taxi-service he erected a pavilion in the center of the shikara, a gay affair of flower-patterned curtains and canopy, with cushions to match; and deodorized his boat with incense. The sight of Tai’s shikara approaching, curtains flying, had always been for Doctor Aziz one of the defining images of the coming of spring. Soon the English sahibs would arrive and Tai would ferry them to Shalimar Gardens and the King’s Spring, chattering and pointy and stooped. He was the living antithesis of Oskar-Ilse-Ingrid’s belief in the inevitability of change … a quirky, enduring familiar spirit of the valley. A watery Caliban, rather too fond of cheap Kashmiri brandy.”
 And for the turmoil of the Emergency, how about A Fine Balance,  by Rohinton Mistry
 “The morning Express bloated with passengers slowed to a crawl, then lurched forward suddenly, as though to resume full speed. The train’s brief deception jolted its riders. The bulge of humans hanging out of the doorway distended perilously, like a soap bubble at its limit…
 “The southbound express slowed again. With a pneumatic hiss, the bogies clanked to a halt. The train was between stations. Its air brakes continued to exhale wheezily for a few moments before dying out.
 “Omprakash looked through the window to determine where they had stopped. Rough shacks stood beyond the railroad fence, alongside a ditch running with raw sewage. Children were playing a game with sticks and stones. An excited puppy danced around them, trying to join in. Nearby, a shirtless man was milking a cow. They could have been anywhere.”

Tuesday, August 7, 2012

The Writer's Voice: Rudyard Kipling

Rudyard Kipling. Fount of manly fiction. Bearer of burly eyebrows. Speaker of… a surprisingly effeminate, mousy little voice. Have a listen:




Could that be the voice of a retirng bank clerk? Sure. Or a sniveling apothecary? Absolutely.  But a spinner of adventure tales? Voice of British Imperialism? And author of “If,” that ultimate poem of manhood?

Whodathunkit? 

(But man, those eyebrows are amazing!)